January 3, 2012

A Year in Ballet: 2011

2011 may feel like a blur already, but looking back – what a rollercoaster it has been for ballet. From the Black Swan controversies to Natalia Osipova and Ivan Vasiliev’s “defection” to the Mikhailovsky on the eve of the reopening of the Bolshoi’s historical stage, the ballet world has had its fair share of drama over the past 12 months, but the live action was even better. From Petipa to Forsythe, Balanchine to Ratmansky, it’s been a year of superlative performances, and I was lucky to see very different dancers and companies at the top of their game or on the way up in Paris, London, Milan, Amsterdam or Moscow. My best of 2011 in 8 ballet moments:

 

  • Miami City Ballet’s Paris tour (July)

A year ago, few in Paris had even heard of Miami City Ballet. And yet last summer they took the capital by storm, a company refreshingly vibrant, youthful and musical, performing American masterpieces every night at the Théâtre du Châtelet. The sheer vitality of Balanchine’s Western Symphony, the dancers’ accents in The Four Temperaments, their way of showing us the music in Square Dance, their unfailing enthusiasm: I kept going back for more, and by the end of the three-week run the house was nearly sold-out every night. Among the Principals, the Delgado sisters particularly stood out: Jeanette’s Square Dance, Patricia’s third pas de deux in In The Night were world-class performances. Here’s hoping they’ll be back in 2014 as promised.

» My review for the Financial Times
» Behind-the-scenes blog: MCB corps member Rebecca King (Tendus Under A Palm Tree) on the tour

Jeanette Delgado & Renan Cerdeiro in Square Dance © Kyle Froman

Jeanette Delgado & Renan Cerdeiro in Square Dance © Kyle Froman

  • Vikharev’s Raymonda reconstruction for La Scala Ballet (October)

Reconstructions have their detractors, but Sergei Vikharev’s staging of Petipa’s Raymonda for La Scala Ballet this year was one of the most successful attempts at recreating a period “ballet experience” yet. The sheer scale and grandeur of the production, which I saw in Milan in late October, are something to behold, and the different pace allows the characters to breathe: the story may be thin, but the ballet fully succeeds in creating an entire world on stage, where harmony is metaphorically threatened then restored.  This Raymonda also helped La Scala Ballet, a usually problematic company, pull together, and it is up to them now to build on this success.

» Vikharev’s Raymonda on Bella Figura (review, photos and additional comments)
» The full ballet (Italian TV broadcast) on Youtube

Olesya Novikova and Friedemann Vogel in Raymonda © Marco Brescia & Rudy Amisano

Olesya Novikova and Friedemann Vogel in Raymonda © Marco Brescia & Rudy Amisano

  • Forsythe’s Impressing the Czar (December)

At a time when contemporary ballet often seems stuck trying to deconstruct what has already been deconstructed, William Forsythe’s 1988 Impressing the Czar remains one of the masterpieces of the genre. Has anyone tackled ballet history quite so brilliantly in performance since? From the classical and modern worlds colliding in Potemkin’s Signature to Bongo Bongo Nageela, where an ensemble dressed as schoolgirls seems to mock yet bow to the sheer power of corps de ballet work, it’s an evening of dazzlingly clever invention.  The Royal Ballet of Flanders gave it their all in Paris, and as in Artifact the week before, their sharpness highlighted the high-definition extremes Forsythe took the ballet vocabulary to. The first cast gave a particularly electric account of the work’s centerpiece, In the Middle, Somewhat Elevated, with the diminutive Aki Saito literally slicing through the air in the final pas de deux. The most exhilarating performance of 2011.

» Promotional video for the Royal Ballet of Flanders, with footage from Artifact and Impressing the Czar (from 4:15)

Aki Saito & Wim Wanlessen in Impressing the Czar © Royal Ballet of Flanders

Aki Saito & Wim Wanlessen in Impressing the Czar © Royal Ballet of Flanders

  • Ulyana Lopatkina in London (August)

If the ballet world had a queen, it would be the Mariinsky’s Ulyana Lopatkina. At 38, she seems to be dancing better than ever, imbuing the smallest steps with meaning, and she was a glorious presence in London last summer. The level of detail and emotion she brought to Ratmansky’s Anna Karenina redeemed the ballet, and her Nikiya in La Bayadère, a portrayal of exquisite musicality and spirituality, is a memory I cherish. If you have the opportunity to see her in 2012, take it.

» Video: Ulyana Lopatkina and Sergei Berezhnoi in Anna Karenina (Youtube)

Ulyana Lopatkina & Yuri Smekalov in Anna Karenina © Natasha Razina

Ulyana Lopatkina & Yuri Smekalov in Anna Karenina © Natasha Razina

  • The Bolshoi Ballet’s tour to Paris (May)

Last spring was a simpler time for the Bolshoi Ballet. Months before the Bolshoi’s historical stage reopened and the Osipova/Vasiliev duo stunned the ballet world by leaving for the Mikhailovsky Ballet, the company triumphed in Paris with two fiery ballets, Don Quixote and Flames of Paris. The supersonic Osipova and Vasiliev had the Palais Garnier screaming at their every turn, but the rest of the company matched them in style, with extraordinary performances from the larger-than-life Maria Alexandrova, newcomer Vladislav Lantratov and Nina Kaptsova, not to mention a Don Quixote matinée for the ages led by Ekaterina Krysanova and Viacheslav Lopatin.

 » Video: Ekaterina Krysanova and Viacheslav Lopatin’s Don Quixote Grand Pas on May 14 (Youtube)

 

  • Aurélie Dupont & Evan McKie in Onegin (December)

Partnerships are a tricky business, and one the Paris Opera Ballet hasn’t really excelled at in recent years. Aurélie Dupont had made only a modest impression in John Cranko’s Onegin when the ballet entered the company’s repertoire two years ago, but when Nicolas Le Riche, her original partner, injured himself two weeks before opening night this season, an unexpected guest changed everything. Her performances with Stuttgart Ballet Principal Evan McKie had the ballet world abuzz with excitement, and rightly so – their instant chemistry made for a heartrending reading of the ballet.

» My review for the Financial Times + photos
» Video: Act III pas de deux (Youtube)

Aurélie Dupont and Evan McKie in Onegin © Michel Lidvac

Aurélie Dupont and Evan McKie in Onegin © Michel Lidvac

  • Jean-Guillaume Bart’s La Source for the Paris Opera Ballet (October)

No review as I attended a number of rehearsals for research purposes, but former POB Principal Jean-Guillaume Bart has done a tremendous job for his first full-length creation. The rich, musical classical choreography he devised is a departure from the current Paris Opera repertoire, and the ballet is likely to become one of the company’s hits once the dancers settle into it.

» Video: La Source on the Paris Opera Ballet’s website

 

  • Ratmansky’s On the Dnieper and Psyché (February/September)

His full-length Lost Illusions for the Bolshoi Ballet and Anna Karenina (Mariinsky London tour) may not have lived up to his usual standards, but Alexei Ratmansky still provided some of the choreographic highlights of 2011. The Dutch National Ballet acquired his On the Dnieper, a stunningly rich narrative work, in February, and he collaborated with the Paris Opera Ballet for the first time in September. Psyché wasn’t universally loved, but I fell for its fluid, quietly beautiful first scene, quirky ensembles and ambitious soloist work. Dorothée Gilbert and Matthieu Ganio shone as Psyché and Eros.

» My review of On the Dnieper (Dutch National Ballet, A la russe triple bill)
» Video: Trailor for Dutch National Ballet’s A la russe triple bill
» Video: Aurélie Dupont & Stéphane Bullion in Psyché on the Paris Opera Ballet’s website

Anna Tsygankova & Casey Herd in On the Dnieper (Dutch National Ballet) © Angela Sterling

Anna Tsygankova & Casey Herd in On the Dnieper (Dutch National Ballet) © Angela Sterling

 

Runners-up include Evgenia Obraztsova’s debut in Swan Lake and Svetlana Lunkina & Vladislav Lantratov in Lost Illusions in Moscow last April. Bring on 2012 now… Happy New Year everyone!





July 9, 2010

Review: Degas’ Little Dancer, Back at the Palais Garnier

La petite danseuse de Degas
Choreography: Patrice Bart
Paris Opera Ballet
Palais Garnier
29 June 2010

“The Little Dancer Aged Fourteen” is one of the Musée d’Orsay’s best-known pieces. Perhaps even more than his numerous paintings of dancers, Degas’ small bronze statue with its inscrutable expression captures the ambivalence of a young ballerina’s dreams in the 19th century. The discovery of the model’s identity in the 1990s prompted the idea of a ballet based on her life: a romantic young girl studying at the Paris Opera Ballet School is pushed by her mother to seduce the “regulars” in a ballet world where sex is the route to preferment. And who better than the Paris Opera Ballet itself to dance the story of her demise?

The idea may have been excellent, but the resulting production, premiered in 2003, is almost fatally flawed. The score that Denis Levaillant was commissioned to compose is not dance-friendly – obscure and at times dissonant, it fails to evoke the lively atmosphere of 19th-century Paris, not helped either by the set’s drab backcloths. The costumes, from the reproduction of the Little Dancer’s tutu to an eccentric take on bustle gowns in the second act, are charmingly sophisticated, a trademark of the Paris Opera, but the world Patrice Bart translates to the stage emerges with little resonance, historical or otherwise. (…)

» Read the full review in the Financial Times





December 4, 2009

Make Your Own Ballet Christmas in Paris

Dorothée Gilbert and Manuel Legris in Nutcracker © Sébastien Mathé / ONP, 2007

Dorothée Gilbert and Manuel Legris in Nureyev's Nutcracker © Sébastien Mathé / ONP, 2007

It’s that time of the year again, and the Paris Opera Ballet is celebrating in style with the perennial holiday favorite, The Nutcracker, and a Ballets Russes program comprising of four ballets rarely danced by the company today.  If you fancy a Freudian Sugar Plum Fairy, the original Petrouchka or simply a chance to go and see the Christmas lights in Paris, here are a few tips, starting with the usual dilemma: which dancers shall you see?

Tree growing at the Opéra Bastille – Nutcracker casting

Myriam Ould-Braham & Nikolai Tsiskaridze

© David Elofer / Dmitry Rozhkov

© David Elofer / Dmitry Rozhkov

Beauty and the Beast
19 December (evening), 22 December

Why you want to see them : strong contenders for most unlikely couple of the year, and yet – the petite, delicate Paris Opera soloist and the tall Bolshoi star who ranges from teddy bear to neurotic on stage might be magic together. Myriam Ould-Braham was filmed in the role two years ago, and it is an all too rare occasion to witness her lyrical, absorbing presence. Tsiskaridze could make the odd Drosselmeyer/Prince of this version work, and we would then be in for a truly Freudian Nutcracker, in the best Nureyev tradition.

Potential holiday fun : watching Nikolai Tsiskaridze trying to work his long legs and bravura Moscow persona around Nureyev’s insanely complicated petit allegro choreography. When inspired, he does also occasionally hang on to nearby curtains.

» Video : Nikolai Tsiskaridze in Yuri Grigorovitch’s Nutcracker (Bolshoi Ballet)

Natalia Osipova & Matthias Heymann

© Andrei Melanin / ONP

© Andrei Melanin / ONP

The Firecracker Competition
8 & 9 January (evening)

Why you want to see them : She is the It Russian Girl of the ballet world – he is the latest prodigy of the Paris Opera Ballet. Neither has danced Nutcracker before, and neither is entirely right for the ballet, but watching them outdo each other in terms of stage presence and technical tricks should be an experience in itself. Natalia Osipova, the Bolshoi star now in demand everywhere, is a rare treat in Paris, and her high-flying sense of fun can be a breath of fresh air.

Potential holiday fun : Matthias Heymann, the happy kid on the block, as Clara’s old, grey-haired, limping godfather Drosselmeyer. A hilarious first act should ensue.

Dorothée Gilbert & Matthieu Ganio

© ONP / Michel Lidvac

© ONP / Michel Lidvac

Hieratically French
11, 13, 14, 25 & 29 December

Why you want to see them : They are two of the brightest young stars of the company, and although they haven’t been paired very often, their elegant, hieratic styles should complement each other perfectly. Matthieu Ganio, hopefully back for good after several long-term injuries, is a beautifully understated dancer, who should bring dignity to Drosselmeyer and the Prince. Gilbert was made an Etoile in the role of Clara two years ago, and she is entirely at home in Nureyev’s combinations of combinations.

Potential holiday fun : Which one of them will regret first to have agreed to five performances (seven for Dorothée Gilbert), and throw Nureyev overboard for a version of the choreography that would actually be fun?

» Video : Dorothée Gilbert in the final Pas de Deux of the ballet, with Manuel Legris

Myriam Ould-Braham & Emmanuel Thibault

© David Elofer

© David Elofer

Phantoms of the Opera
5 & 9 (matinee) January

Why you want to see them : Both are so rarely allowed on stage, let alone together, that their partnership has almost become a legend. The atmostphere at every one of their appearances in classical ballets was electrifying, and I cherish the memory of their Don Quixote and Fille mal gardée. Ekaterina Maximova & Vladimir Vassiliev invited them to perform at their 50th Anniversary Gala. Old-school stagecraft is their secret, and dancing together they are a wonder, an 18th-century painting come to life.

Potential holiday fun : Emmanuel Thibault flying across the stage, but watching them have fun together should be enough for a bright New Year in any event.

» Video : Myriam Ould-Braham & Emmanuel Thibault in a Vassiliev Pas de Deux

Mathilde Froustey & Matthias Heymann

© ONP

© ONP

Ambitious Youth
23 & 26 December

Why you want to see them : Both are crowd-pleasers, and Froustey is the undisputed darling of the French audience, who has been waiting in the wings of stardom for a few years. A born Fille mal gardée, she knows how to capture attention, and her technique is both strong and light, despite her thinness. The youthful couple of the run.

Potential holiday fun : Seeing them flirt with you, dear audience, much more than with anybody on stage.

Outsiders : Mélanie Hurel, Christophe Duquenne & Alessio Carbone, three strong and experienced soloists; Ludmila Pagliero & Josuah Hoffalt, who have both just been promoted to the rank of premiers danseurs.

Back to the Ballets Russes, once more

Le Spectre de la Rose / Le Tricorne / L’après-midi d’un faune / Petrouchka

Petrouchka and L’après-midi d’un faune were last seen in Paris in 2001, and when Le Tricorne was performed for the last time, Brigitte Lefèvre wasn’t heading the company yet (prehistoric times, in other words).  This Ballets Russes offering is an occasion to see a whole new generation take on legendary leading roles, and some performances will be filmed, with broadcasts and a DVD to follow.

Don’t miss :

  • Nicolas Le Riche and Clairemarie Osta in Petrouchka, in different casts. Sadly, Manuel Legris has pulled off his scheduled performances in the ballet due to injury, but Nicolas Le Riche should bring maturity and experience to the title role. Clairemarie Osta, on the other hand, was born to dance the Ballerina, and her Ondine-like eyes and soft lines should work wonders on stage.
  • Emmanuel Thibault and either Delphine Moussin or Clairemarie Osta in Spectre de la Rose. Matthias Heymann will be featured on the future DVD, but Emmanuel Thibault is a special performer, all lightness and infallible style. This may be the last occasion to see him in this iconic role.
  • José Martinez and Eve Grinsztajn in Le Tricorne, in different casts. José Martinez has been dancing the main role since 1992, the year he was promoted to Premier Danseur, and he even took part in its Moscow premiere at the Bolshoi, in 2005. A lucky role for the Spanish dancer, who will be featured on the DVD. Eve Grinsztajn, on the other hand, will not, but the fiery Première Danseuse, who had early triumphs as the Street Dancer in Don Quixote, should bring all the needed weight and strength to the Meunière.
  • Nicolas Le Riche or Jérémie Bélingard in L’après-midi d’un faune. Pure sensuality ahead with these two – remember Le Riche in Béjart’s Boléro. Jérémie Bélingard was even in a commercial for Jean-Paul Gaultier not so long ago, and his very physical stage presence should fit the Faun like a glove.

Dancers of the American Ballet Theatre in Petrouchka © Gjon Mili / Time Inc. (1946)

The American Ballet Theatre in Petrouchka © Gjon Mili / Time Inc. (1946)



But it is sold out…

This being ballet-starved Paris, both Nutcracker and the Ballets Russes program sold out within hours. So what can you do if you are coming in December, or if you still want to?

  • Check daily, and even several times a day, the website of the Paris Opera. Once in a while, a few (usually top-price) tickets for one or more performances are made available this way, but you’ll have to jump on them.
  • Audience members will sometimes sell tickets they cannot use, and a lot of them do so on Dansomanie, a popular French website, via “post-it” posts on top of the main discussion board. Be aware though that the number of people looking for Nutcracker tickets is higher than ever, especially for Natalia Osipova and Nikolai Tsiskaridze’s performances.
  • If you are in Paris and want to see a performance, go and queue for returns at the box-office. They are sold at regular prices around 45 minutes before the performance, but the queue around Christmas gets absolutely huge, and if you want something you should plan to arrive several hours in advance. If you are eligible for concessions last minute tickets, don’t waste your time – these are only sold after everyone in the returns queue has been served, and as the French would say, hens will grow teeth before that happens in December.
  • Beware of the black market – you will undoubtedly find resellers around the entrance of each Opera, Bastille and Garnier, who try and sell cheap tickets at five times their regular price. Don’t accept.

Finally, if you can’t find anything, don’t be too disappointed – the Ballets Russes program will be broadcast live in French, Belgian and Swiss cinemas on 22 December (see the list here), with a DVD to follow. The Nutcracker was filmed two years ago with Myriam Ould-Braham and Jérémie Bélingard, but it has yet to be released.

Happy holiday season!

More links:
» Official casting for Nutcracker on the website of the Paris Opera Ballet
» Official casting for the Ballets Russes program on the website of the Paris Opera Ballet
» Elizabeth Maurin and Laurent Hilaire in the two main pas de deux from Nureyev’s Nutcracker (TV production, 1989)
» Laëtitia Pujol and Manuel Legris in the final pas de deux
» Rudolf Nureyev in L’après-midi d’un faune (Afternoon of a Faun)





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